Ouroboros, bronze with grey- greenish patina, on a hard stone base, overall 71x60,5x60 cm , signed and dated 'Sj Buisman 2000' and indistinctly titled (underneath), Sjoerd Buisman (1948)
"Senecio" (1993) Signed, titled, dated 1993, numbered 2/3 and annotated 2 parts and part 2 inside Bronze (consisting of two parts), 60 x 60 x 16.8 cm Provenance: - Galerie Ramakers, Amsterdam, 2002 - Private collection, the Netherlands (2x) Note: Buisman's work is characterised by a deep fascination with nature, exploring natural processes and intricate patterns found in the organic world. Around 1985, Buisman started to apply the geometric pattern of the phyllotaxis (spiral arrangement of leaves, flowers, seeds or other plant parts around a stem or axis) to bronze and concrete statues, as can be seen in this work on offer.
Buisman, Sjoerd (b.1948). "Deze epifyten (...) werden gevonden in Cua, Venezuela 14/12/77". Photographic card w. mounted plant leaves and autograph caption, 12,7x8,8 cm., verso w. stamp "Sjoerd Buisman". Idem. "bamboe (...) dit blad werd in jong, opgerold stadium aangevreten door insekten. Vindplaats: Comaima, Venezuela 12/1/78". Postcard, recto w. mounted plant leaf w. autograph caption, verso w. stamp "Sjoerd Buisman" and addressed in autograph to Kees Broos and Liesbeth Brandt Corstius, signed "Groeten Sjoerd". - AND 24 New Year's wishes by Sjoerd Buisman (and Mathilde Cuijpers), 1974-1998, 7x w. original SIGNED artwork on recto and otherwise mainly w. photographic illustration (of works) by Buisman. - AND a small stack of (photographic) autograph picture postcards, invitations etc. by the same.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Sjoerd Buisman (1948) Gnawed Bananaleaves (ravena guyanensis), a series of 9 herbaria (one with gouache and pencil), signed 'Sjoerd Buisman' (on the 9th piece); all with the artist's stamp and numbered 1 through 9 (on the reverse), all framed separately, each 165x42, 5 cm (incl. the artist's frame) Executed in 1978 Provenance: Property from the Chateau Collection Sjoerd Buisman.Literature: -W. van den Belt, ‘Sjoerd Buisman. de bomen van Buisman’, Zwolle 2015, pp. 30/31 illustrated in colour.-K. de Boer, ‘Sjoerd Buisman. Groeiwerken 1987-1997’, Amsterdam, 1998, p. 94, illustrated in black and white.Exhibited:-Oxford, Museum of Modern Art, 1980.-Cologne, Baukunst Galerie, 'Manipulations', 23 Sept. - 6 Oct. 2006.-Bunnik, Museum Oud Amelisweerd, 'Natura Artis Magistra', 11 April - 29 Sept. 2015, “Sjoerd Buisman is not a biologist, but an artist, ” so reads the message in an article on Buisman’s website. Nature and art, art and nature, which one comes first in Buisman’s work, and how are they linked? It is sometimes hard to see the boundaries between one and the other; nature fuses with art and the other way round. In the beginning of Buisman’s career nature always seems to be subordinate to the manipulations of the human hand. All the shaping, pushing, controlling of leaves, roots and branches is for the sake of art. He observes, registers and then builds his own artistically shaped nature. His initial photographs and notes reveal not only the magic and power of nature but also the inventiveness of men and above all the sharp eye of the artist. Later on in his career, Buisman’s focus seems to have shifted, from manipulating the plant into art, to just observing the way nature creates nature, to creating art along the lines of natural forms, especially of spiral shapes. Beautiful objects, into which the graceful shapes of nature have found their way, are the result. Buisman’s keen eye, able hands and deep knowledge of materials have earned him a rock-solid place in post-war Dutch art. Ever since Buisman was a young man, he had an acute interest in plants and their growth process. This interest was incorporated into his early artwork from the late 1960’s, at which time he was also greatly influenced by conceptual art and the Arte Povera movement. Potatoes, seeds, fruit and leaves became part of his experiments in which he researched how invisible qualities like gravity, light and moisture could influence natural objects. In his ‘Etiolation’ projects for instance, he meticulously documented, with the help of pictures, the dying process of plants that had been blocked from any daylight during their growing process. The whole process of the growing shoots looking for light, winding themselves into weird shapes to finally end up in slimy threads, was documented to become a form of art.The reactions to Buisman’s ‘plant art’ were divided: he received both loud applause as well as some quite severe criticism, as was to be expected. However, by the end of the 1970’s, his breakthrough as an artist was firmly established and his work became part of many exhibitions in the Netherlands as well as abroad. Buisman took the criticism in his stride, considering it as part of a world that was not yet ready for his message. “I had an ideal at that time. I wanted to change the way people looked at things, not only at nature, but also at art. I connected – as a credo – nature with culture, as being one of a kind. I still want to do this, but nowadays these things are accepted.” In the mid 1970’s Buisman took his experiments one step further by not only registering the growing processes, but by actually giving them form. Just like with the Land Art artists Hamish Fulton and Robert Smithson, nature becomes the material art is made of. He plants palisades of birch, willow and spruce in rectangles or in long lines along rivers, on the edge of ponds and in meadows. In 1984, together with the British sculptor David Nash, he was commissioned by the Kröller-Müller Museum for a project called “Planting Pieces”: it included a Birch Mountain and a Birch palisade. Buisman’s interest in nature and plants, took him to countries like the Canary Islands, Venezuela, Indonesia and the Philippines where he searched the jungle for his favourite forms. It is during one of these trips that he discovers symmetrical patterns in banana leaves, caused by insects. The rhythm of the pattern being the result of the fact that the leaves were initially rolled up. Apart from just observing them for what they are: banana leaves gnawed on by insects, Buisman put them in separate frames (herbaria) which, together with the gouache and notes in pencil, resulted in a stunning series (Lot 19). With this he again confirms the idea that art can be found in nature, but that it takes the artist and his artistic outlook on how to exhibit his ‘trouvaille’ to make nature into art. It is during that same period that he comes across the spiral form. “I sowed a banana plant and when it started to grow, I accidentally noticed that the leaf lobes were spirally attached to the stem. I found that really wonderful. The spiral is the most important growth structure that we know. You can see it in the double screw arrangement of the DNA molecule and it is also the most important ordering principle in plants.” In the beginning of the 1980’s his research was followed by the spiral-formed paper mache statues. Not long after that his well-known concept of the ‘Phyllotaxis’ followed. Buisman has been developing his nature-inspired art ever since. Still searching for beautiful forms, still trying to pass along the magic spell of nature, he progresses into an even further field where art and nature merge into one awe-inspiring experience. “The characteristic of a spiral is that it turns back in a similar way towards the place from which it came. It just stretches out a little further. That's how I want to develop myself.” LiteratureIk zaaide een banaan en zag de bladlobben in spiralen groeien / Lucette ter Borg, NRC, 07-03-1992Sjoerd Buisman : Groeiwerken 1967-1997, 1998, passimSjoerd Buisman, in de tuin van de kunst / Cherry Duyns, Cees de Boer, 2013, passimDe Bomen van Buisman / Werner van den Belt, 2015, passim
Sjoerd Buisman (1948) "Senecio" (1993) Both signed, titled, dated 1993, numbered 2/3 and annotated 2 parts inside Bronze, 60 x 60 x 15 cm Provenance: - Galerie Ramakers, Amsterdam, 2002 - Private collection, the Netherlands Note: Buisman's work is characterized by a deep fascination with nature, exploring natural processes and intricate patterns found in the organic world. Around 1985, Buisman started to apply the geometric pattern of the phyllotaxis (spiral arrangement of leaves, flowers, seeds or other plant parts around a stem or axis) to bronze and concrete statues, as can be seen in this work on offer. (2x) * Please note: condition reports and additional photos are available upon request. For more information please visit our website: www.aagauctioneers.com
Sjoerd Buisman (1948), Ouroboros arborum, signed and dated 'Sj Buisman 2008' and titled (on the underside), bronze with a greyish black patina, 38x47x27 cm,
Sjoerd Buisman (1948), Opuntia, signed and dated 'Sj Buisman 93' (lower right) and titled (lower left), cellulose papier-maché on brown paper, 70x48 cm, Provenance:Galerie Ramakers, The Hague,
Sjoerd Buisman (1948), Het eiland in de Hofvijver (The island in the Hofvijver), signed and dated 'Sj Buisman 01' (lower right), ink and herbarium on paper, 50x65 cm, Provenance: Galerie Ramakers, The Hague,
Sjoerd Buisman (1948), Study of Babel - Celery (Apium), signed and dated 'Sjoerd Buisman 91' (lower right), titled and inscribed (lower left), mixed media on paper, 148,5x98 cm, Provenance: Property from the Chateau Collection Sjoerd Buisman,
Sjoerd Buisman (1948), Herbarium schietwilg (Salix alba L.), signed 'Sj Buisman' (lower right) and stamped with the artist's stamp (on the reverse of the frame), herbarium of white willow leaves on firm paper, 66x101 cm Executed in 1976, Provenance:Acquired from Galerie Ramakers, The Hague, by the present owner,
Sjoerd Buisman (1948), Fractaal werk (Fractal work), signed, titled, dated and numbered 'Fractaal Werk 2010 5/5 Sj Buisman' (on the inside), bronze with a greyish brown patina, 33,5x40x24 cm,
Sjoerd Buisman (1948), Untitled , signed and dated 'Sjoerd Buisman 1969/92' (on the reverse of the frame), dried wheat sprouts, grown on molleton, 200x150 cm, Provenance: Property from the Chateau Collection Sjoerd Buisman,
Sjoerd Buisman (1948), Gnawed Bananaleaves (ravena guyanensis), a series of 9 herbaria (one with gouache and pencil), signed 'Sjoerd Buisman' (on the 9th piece); all with the artist's stamp and numbered 1 through 9 (on the reverse), all framed separately, each 165x42,5 cm (incl. the artist's frame) Executed in 1978, Provenance: Property from the Chateau Collection Sjoerd Buisman.Literature: -W. van den Belt, ‘Sjoerd Buisman. de bomen van Buisman’, Zwolle 2015, pp. 30/31 illustrated in colour.-K. de Boer, ‘Sjoerd Buisman. Groeiwerken 1987-1997’, Amsterdam, 1998, p. 94, illustrated in black and white.Exhibited:-Oxford, Museum of Modern Art, 1980.-Cologne, Baukunst Galerie, 'Manipulations', 23 Sept. - 6 Oct. 2006.-Bunnik, Museum Oud Amelisweerd, 'Natura Artis Magistra', 11 April - 29 Sept. 2015, “Sjoerd Buisman is not a biologist, but an artist,” so reads the message in an article on Buisman’s website. Nature and art, art and nature, which one comes first in Buisman’s work, and how are they linked? It is sometimes hard to see the boundaries between one and the other; nature fuses with art and the other way round. In the beginning of Buisman’s career nature always seems to be subordinate to the manipulations of the human hand. All the shaping, pushing, controlling of leaves, roots and branches is for the sake of art. He observes, registers and then builds his own artistically shaped nature. His initial photographs and notes reveal not only the magic and power of nature but also the inventiveness of men and above all the sharp eye of the artist. Later on in his career, Buisman’s focus seems to have shifted, from manipulating the plant into art, to just observing the way nature creates nature, to creating art along the lines of natural forms, especially of spiral shapes. Beautiful objects, into which the graceful shapes of nature have found their way, are the result. Buisman’s keen eye, able hands and deep knowledge of materials have earned him a rock-solid place in post-war Dutch art. Ever since Buisman was a young man, he had an acute interest in plants and their growth process. This interest was incorporated into his early artwork from the late 1960’s, at which time he was also greatly influenced by conceptual art and the Arte Povera movement. Potatoes, seeds, fruit and leaves became part of his experiments in which he researched how invisible qualities like gravity, light and moisture could influence natural objects. In his ‘Etiolation’ projects for instance, he meticulously documented, with the help of pictures, the dying process of plants that had been blocked from any daylight during their growing process. The whole process of the growing shoots looking for light, winding themselves into weird shapes to finally end up in slimy threads, was documented to become a form of art.The reactions to Buisman’s ‘plant art’ were divided: he received both loud applause as well as some quite severe criticism, as was to be expected. However, by the end of the 1970’s, his breakthrough as an artist was firmly established and his work became part of many exhibitions in the Netherlands as well as abroad. Buisman took the criticism in his stride, considering it as part of a world that was not yet ready for his message. “I had an ideal at that time. I wanted to change the way people looked at things, not only at nature, but also at art. I connected – as a credo – nature with culture, as being one of a kind. I still want to do this, but nowadays these things are accepted.” In the mid 1970’s Buisman took his experiments one step further by not only registering the growing processes, but by actually giving them form. Just like with the Land Art artists Hamish Fulton and Robert Smithson, nature becomes the material art is made of. He plants palisades of birch, willow and spruce in rectangles or in long lines along rivers, on the edge of ponds and in meadows. In 1984, together with the British sculptor David Nash, he was commissioned by the Kröller-Müller Museum for a project called “Planting Pieces”: it included a Birch Mountain and a Birch palisade. Buisman’s interest in nature and plants, took him to countries like the Canary Islands, Venezuela, Indonesia and the Philippines where he searched the jungle for his favourite forms. It is during one of these trips that he discovers symmetrical patterns in banana leaves, caused by insects. The rhythm of the pattern being the result of the fact that the leaves were initially rolled up. Apart from just observing them for what they are: banana leaves gnawed on by insects, Buisman put them in separate frames (herbaria) which, together with the gouache and notes in pencil, resulted in a stunning series (Lot 19). With this he again confirms the idea that art can be found in nature, but that it takes the artist and his artistic outlook on how to exhibit his ‘trouvaille’ to make nature into art. It is during that same period that he comes across the spiral form. “I sowed a banana plant and when it started to grow, I accidentally noticed that the leaf lobes were spirally attached to the stem. I found that really wonderful. The spiral is the most important growth structure that we know. You can see it in the double screw arrangement of the DNA molecule and it is also the most important ordering principle in plants.” In the beginning of the 1980’s his research was followed by the spiral-formed paper mache statues. Not long after that his well-known concept of the ‘Phyllotaxis’ followed. Buisman has been developing his nature-inspired art ever since. Still searching for beautiful forms, still trying to pass along the magic spell of nature, he progresses into an even further field where art and nature merge into one awe-inspiring experience. “The characteristic of a spiral is that it turns back in a similar way towards the place from which it came. It just stretches out a little further. That's how I want to develop myself.” LiteratureIk zaaide een banaan en zag de bladlobben in spiralen groeien / Lucette ter Borg, NRC, 07-03-1992Sjoerd Buisman : Groeiwerken 1967-1997, 1998, passimSjoerd Buisman, in de tuin van de kunst / Cherry Duyns, Cees de Boer, 2013, passimDe Bomen van Buisman / Werner van den Belt, 2015, passim ,
- BUISMAN, Sjoerd (Dutch 1948). Phyllotaxis, 1989. Green patinated bronze, signed and dated 'Sj Buisman 1989' (on the inner side). Several small stains, minor surface abrasions at the bottom, else in good condition.
SJOERD, BUISMAN (1948). "Knop (1998)". Escultura realizada en bronce patinado. Firmada, fechada (1998) y numerada (2/5) en el interior. Sobre peana de madera con fanal. 16,5 x 16 x 12 cm
SJOERD, BUISMAN (1948). "Phyllotaxy (1993)". Xilografía sobre papel japón. Firmado y fechado (93) en el ángulo inferior derecho. Titulado en la parte inferior central. Numerado (VII/X) en el ángulo inferior izquierdo. Al dorso sello de la Galería Evelyn Botella, Madrid. Exposiciones: - Galería Aele-Evelyn Botella, Mayo 1994. 108 x 64 cm
SJOERD, BUISMAN (1948). "Phyllotaxy (1993)". Xilografía sobre papel japón. Firmado y fechado (93) en el ángulo inferior derecho. Titulado en la parte inferior central. Numerado (IV/X) en el ángulo inferior izquierdo. Al dorso sello de la Galería Evelyn Botella, Madrid. Exposiciones: - Galería Aele-Evelyn Botella, Mayo 1994. 96 x 72 cm
- BUISMAN, Sjoerd (Dutch 1948). Two crabs, 1970. Oil on canvas, signed 'Sj Buisman' (lower right, partly faded), inscribed '20 11' (on the reverse); framed. Several scattered areas of inpaint (incl. one of c. 2 x 9 cm. upper centre, corresponding to a patch on the reverse), small cut (c. 1 cm., centre right), several small losses (mainly along the edges).
- BUISMAN, Sjoerd (Dutch 1948). Fractal work 10.0569B, 2010. Black patinated bronze, signed, dated and titled 'Sj Buisman 10.0569B' (on the underside), from the edition of 20. Minor imperfections, good condition.
Sculptuur studie signed in pencil and dated '85 (lower right) and titled (lower left) silkscreen in colours, unframed, 90x63 cm Provenance: Acquired directly from the artist.
Untitled (Van boven naar onder: Myrtillocactus geometricas, Bolivicereus samaipatanus, Trichocereus pachanoi, Trichocereus macrogonus) signed, dated 1971/76 and inscribed (lower centre) and signed (on the reverse) photograph and pencil, in artist's frame, from an edition of 3 copies, 66,5x51 cm Provenance: Acquired directly from the artist by the present owner.
Study for sculpture signed and dated '84 (lower right) and titled (lower left) and with artist's stamp (on the reverse) pencil on paper, in artist's frame, 99x78 cm Provenance: Acquired directly from the artist by the present owner.
'Babel Heracleum' signed, dated 2007 and titled (on the inside) bronze with a black patina, numbered 1/10, height: 58 cm Provenance: Art Affairs, Amsterdam. Exhibited: Stedelijk Museum Schiedam, 'Kunst uit huis V: collectie Ron Klein Breteler', 24.5 - 23.8.2009.
Phyllotaxis signed and dated '92 (on the inside) bronze with a green black patina, from an edition of 10, 12x14x14 cm Provenance: Galerie Artline, The Hague, acquired in 1994.
'Ingesnoerde pompoen' (1997/98) bronze with a green black patina, from an edition of 5, 39x41x24 cm Provenance: Art Affairs, Amsterdam, acquired in 1998. Exhibited: Stedelijk Museum Schiedam, 'Kunst uit huis V: collectie Ron Klein Breteler', 24.5 - 23.8.2009.
'Egelantier Spiraal' (Spiral Ouroboros) signed and dated '99 bronze with a green black patina, 43x45x45 cm Provenance: Art Affairs, Amsterdam, acquired in 2000. Exhibited: Stedelijk Museum Schiedam, 'Kunst uit huis V: collectie Ron Klein Breteler', 24.5 - 23.8.2009.
'Presents to the tree' 14 aluminium branches, dimensions variable. Also included: the corresponding concept drawing, signed, titled and dated 2007, coal and silver pen on paper, 65,5x50 cm. Another 'Presents to the tree' installation was made for the Residence of the Dutch Embassy in Beijing. Provenance: Acquired directly from the artist, Amsterdam 2010.
Zwart gepatineerd bronzen abstract sculptuur: grillige opstapeling van conische vormen. "Phyllotaxis", jaren '80/'90. Herkomst Galerie Art Affairs Amsterdam. H 12,5 cm.
